The good news? Friday Night Lights star Minka Kelly is the newest starlet to have a sex tape auctioned off to the highest bidder by a bitter ex. The bad news? She might be underage in it. The tape shows Minka and an unidentified ex-boyfriend (presumably the one now peddling the tape) bumping uglies back in her home state of New Mexico. In the video, Minka is apparently very aware that she’s being taped and plays to the camera, which has been hooked up to a TV monitor so she and her AV club honey can watch themselves in action. It’s unclear when the tape was shot, with only one clue to how old Minka might have been at the time. We’ll let TMZ explain: ” Two songs from Brandy’s second album, “Never Say Never,” are playing in the background. The album was released on June 8, 1998 — 16 days before Minka’s 18th birthday. ” Minka has never done a proper onscreen nude scene, so if this tape does get released, it will be our first-ever glimpse at Minka’s pink-a. So c’mon, internet, it’s Encyclopedia Brown time- did Minka Kelly run out and buy Brandy’ s Never Say Never the day it came out, or did she get it two weeks later as a birthday present? The fate of the wanking world depends on it. Warm up for the Minka Kelly sex tape with sexy pics and clips right here at MrSkin.com!
Jason Kidd celebrated signing with the New York Knicks by engaging in a series of bad decisions which commenced with being arrested for drunk driving , early Sunday (July 15). Like any athlete looking to bring down his (somewhat) upstanding public image Kidd was relentless in his efforts to make sure that his night ended in the most embarrassing way possible: by being carried out of the club… Continue
In a battle of webs against fangs, which will come out on top? That’s the question we’re now forced to ask, as Us Weekly sources report that an unexpected feud is brewing in Hollywood: Andrew Garfield vs. Robert Pattinson ! Simply put… “Andrew can’t stand Rob,” the tabloid insider claims. “Andrew hates that they’re put in the same category because they’re both English and around the same age.” And Pattinson isn’t itching to befriend the latest superhero star either, allegedly, as each attended the wedding of producer Kevin Turen on June 23, but “spent much of the night ignoring each other,” according to a witness, who added: “They don’t enjoy hanging out. Andrew considers himself a ‘serious actor’ and sees Rob as the equivalent of a cheesy boy bander because of Twilight .” Ouch. Zing and a half! Will Robert soon fire back? He is in a fighting mood these days, recently calling out whoever came up with the nickname R. Patt . You tell us, readers: Which of these actors would you rather do anything but fight with… naked in bed?
Why do we believe, or need to believe, in the possibilities that lie beyond the laws of physics and known science — the unlikely, irrational hope that suggest something more exists in the universe, be it spiritual or simply supernatural? Actor Cillian Murphy explores these Big Questions in Rodrigo Cortes’ Red Lights as Tom Buckley, a paranormal debunker who goes head-to-head with a powerful pop psychic (Robert De Niro) whose self-proclaimed powers to bend spoons and read minds may be mere parlour tricks compared to what he’s really capable of. In researching the role of a paranormal investigator for the twisty thriller (Cortes’ follow up to Buried ), Murphy found himself studying real-life mentalists, magicians, and self-proclaimed seers. But while the self-described “boringly rational” skeptic may not believe in the existence of the supernatural, one encounter gave him an understanding of how these magnetic personalities inspire whole-hearted devotion in legions of hope-seekers. Murphy only met the magician David Copperfield for a few brief moments backstage in Vegas, but their exchange made an impact. “The man’s got an aura for sure,” he marveled, though De Niro’s Simon Silver combines the charisma of Copperfield with the mysticism of Uri Geller to create a much more intimidating onscreen adversary. Movieline spoke further with Murphy about what drew him to the storytelling and themes of Red Lights , acting opposite film legends Weaver and De Niro, and rumors that he’ll pop up in Christopher Nolan’s upcoming The Dark Knight Rises . What was your initial reaction to the concept of Red Lights ? Part of what’s intriguing about the script is how it plays with viewer expectation — what hooked you? Every script that you get, you always have to judge it on the word on the page and that’s always been my sort of mantra. A lot of the time when you read scripts you can kind of predict where they’re going to go pretty quickly, and with this one I couldn’t. And that’s no fun, when you can guess at a story’s secrets. No! But that tends to be the majority of scripts. You kind of know what’s going to happen and what the character is like. This one took turns that I was pleasantly surprised by. And I’d also seen Rodrigo’s two other films, and you could see he was the real deal — he was a real director. And obviously you throw in a couple of legends, and the whole package was very, very appealing to me. By legends, you mean Sigourney Weaver and Robert De Niro. Of course, but unless the part and the director and the script is any use, that’s immaterial. But the fact that they were already signed on to do those parts … that was definitely appealing. Rodrigo has said that he wrote Sigourney’s character with her in mind, which is great — those interesting kinds of female characters don’t come along that frequently. Did her character and De Niro’s character leap off the page as much for you early on? It was really well written, and it was very smart; it didn’t pander to an audience. And the twists and turns were surprising to me, and as you say that’s a great strong female part — where her character goes, you don’t expect. I enjoy the way in the TV debate equal credence is given to both camps, and it wasn’t about ridiculing or pointing fingers — it was about rigorously looking for the truth. I like scripts that presuppose a level of intelligence in the audience, and again they’re sort of rare. When it comes to the themes in the film — faith, skepticism, these huge ideas — how much did the chance to play with those ideas factor in for you? I think they’re obviously big questions in the film, but for me I focused on the character, and for me the character the two driving forces are obsession and self-acceptance, or the lack of self-acceptance. Those were the two things for me that drove Tom Buckley’s character and I focused in on those, because those are quite universal. The broader picture about skepticism and belief and blind faith and science and all those things, I would personally be very much in the skeptic camp. I’d be very much about proof and logic and reason, that’s always been my boringly rational approach to life, but I’m fascinated by why people needed to believe in these things. The need to believe was the thing that really struck me — the need to believe, rather than to understand. To many people that’s a need to have something to believe in, in order to get through. To get through — and that’s absolutely fine and valid, but where it becomes darker is where that is preyed upon. If people are ill, or people have lost loved ones, and then people are willing to set aside logic and reason and rational thought and bankrupt themselves because some charlatan is promising them relief. Rodrigo did a fair amount of research into real world healers and the like; did you do much of the same, and how did what you learned affect your perspective? I did a lot of reading about it, a great deal in fact. I also went to Vegas to see the more showbizzy aspect of it. Like a Criss Angel show? Criss Angel, David Copperfield — that stuff is good, harmless fun. It’s like showbiz. But De Niro’s character is more an amalgam of the televangelists, the psychics, Uri Geller and all these sorts of guys who claim something beyond what the Copperfield and Criss Angel do, which is pure entertainment and great fun. But you can see there how they use their aura, or their personality — which is large anyway — and then magnify that on stage. I do think there’s a power of personality that’s important in this, that we haven’t talked about that much. I met David Copperfield afterwards very briefly backstage in Vegas, and the man’s got an aura for sure. You put that up on stage and magnify it and that’s what De Niro’s character Simon Silver plays on. That’s why it’s great casting to put someone like De Niro in there because the man’s presence is immense, it’s just massive — so you put a camera on that and it’s magnified tenfold. Certain people do have that sort of charisma that’s palpable in the air, in a room, on a screen — but it’s interesting to hear this from you, being an actor. Some might say the same about you, given the nature of your work. Well, I don’t know if they would or not! Obviously when you’re playing a part, there’s a part of your personality in it, but you try and sort of project different sides of it. You use whatever aspects of the personality that work. I don’t have a clue — its’ very hard for me to talk about acting, or the process of acting. What was David Copperfield like? Well, that was a really brief thing, and for whatever reason we were backstage and it was really dark. It was like in a little corridor and he came out, and — yeah, he definitely had an effect. You felt it. Yeah. And I’ve seen that, people walk into a room and they change the energy. And it’s not anything paranormal or extra-sensory, it’s just that they have, like you say, this charisma. Red Lights is interesting in that it’s a genre movie that doesn’t act like a genre movie. No, it doesn’t — and I’ve been in plenty of so-called genre movies and never for a moment thought they were science fiction or a zombie movie or whatever, I just thought they were about character and story. It’s easier for people to slot them into genres because they can sell them easier that way. What was your impression of Rodrigo as a director? Rodrigo is ferociously intelligent, very clear in his vision, very clear in his aesthetic, and luckily, our sensibilities were kind of the same. I think that when someone has that clear a vision, you feel safe, then — safe to experiment, to sort of improvise because you know that within that structure he knows what every frame of that film is going to be like. And I like working with writer-directors because they’ve lived with the character, they’ve lived with the story, so they have a deeper sense of it. They might not have all the answers, but you can really knock it around with them and you can ask them, “Why?” or “What does this mean?” We really got on; he’s got a great sense of humor, too, and shooting in Spain we shot very, very fast. It was very intense. It was something like ten weeks… Yes — it was eight in Spain and then some in Toronto. I like the immersive experience of acting, I like just completely disappearing into a character, into an environment, into a role — that’s always appealed to me, and this was very much like that. Are you an actor who takes this disappearing into character off-set as well? I don’t know. I’m not sure. I’m probably not that easy to live with when I’m working on something very intensely, but you know, you’re working 16-17 hours a day, so you just come home and go to bed. And then you get up and go to set. I love that. It’s pure concentration, and they say happiness is concentration. I love that. Seems like it might be something like an extended adrenaline rush. It kind of is! And we were working, we did a crazy amount of set-ups a day, it was very fast. It’s exciting. You said part of what drew you in was the opportunity to work with Sigourney and Robert — what was that like for you when you finally got to shoot with them? Amazing. You’ve got to just observe and learn, don’t you? And they were beautiful and warm and generous, and ultimately you really have to put aside the legend thing as best you can when the camera turns over and it’s “Action!” you’ve got to serve the scene and the character, but they were all about that. I think they must be aware of the effect of their legacy on an actor of my generation, but they were never anything other than people there to do the work. But it was fascinating getting to watch actors that good. You’ve got to learn from that. Was it fun shouting at De Niro? Hey, he shouts at me, too! [Laughs] Lastly, folks have been wondering if you’ve been working with Chris Nolan again on The Dark Knight Rises . I love working with Chris. I’ve been lucky to work with him a few times, and any time, I’ll be there. But listen, it comes out [soon]. So let’s try and be patient! People are so impatient these days! Let’s wait and see. I do believe there were reports of you being spotted on the set… [Smiling] Look, I’m not going to add to any speculation. I just think that it’s going to be a phenomenal film, and the best way to watch a film — surely — is by going in there hugely excited and not knowing anything about it. I suppose in a way that brings us full circle with Red Lights and the idea of the filmmaker as a sort of magician, keeping tricks up their sleeve. Yeah, I do think this is a film sort of about filmmaking. Rodrigo talks about distracting here, and showing something there, and it is all smoke and mirrors. But I wouldn’t get too into that metaphor, because I didn’t make the movie. Red Lights is in limited release this week. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
The Locarno Film Festival is one of the world’s oldest. The Swiss lake-side summer event regularly attract thousands including U.S. filmmakers during its ten-day run. The fest has raised its profile in recent years and this year the event will feature 19 films screening as international or world premieres competing for the event’s top “Pardo d’oro” grand prize. U.S. entries include Jack and Diane , Compliance , Museum Hours , Somebody Up There Likes Me and Museum Hours . The festival will open with the world premiere of Nick Love’s The Sweeney August 1st The festival also has a nightly out of competition “Piazza Grande” lineup of films, which are screened outside on the (you guessed it…) Piazza Grande against the backdrop of the city’s picturesque lake. The competition and Piazza Grande lineups follow. The lineup in the festival’s other sections can be found on their website (http://www.pardolive.ch/en/Pardo-Live/today-at-the-festival.html;jsessionid=A6B115468942A214FBD6F7D199332475). Locarno runs August 1 – 11. Competition – A jury will choose one of the 19 competing fiction or documentary features, which are screening as world or international premieres, to win the festival’s top prize: the Pardo d’oro. A Última Vez Que Vi Macao (The Last Time I Saw Macao) by João Pedro Rodrigues and João Rui Guerra da Mata Portugal/France – 2012 – 85 min with João Pedro Rodrigues, João Rui Guerra da Mata, Cindy Crash World Premiere Berberian Sound Studio by Peter Strickland United Kingdom/Germany/Australia – 2012 – 89 min with Tobey Jones, Tonia Sotiropoulou, Susanna Cappellaro, Cosimo Fusco International Premiere Compliance by Craig Zobel United States – 2012 – 90 min with Ann Dowd, Matt Servito, Dreama Walker, Pat Healy, Phillipp Ettinger – International Premiere Der Glanz Des Tages (The Shine of Day) by Tizza Covi and Rainer Frimmel Austria – 2012 – 90 min with Philipp Hochmair, Walter Saabel World Premiere Image Problem by Simon Baumann and Andreas Pfiffner Switzerland – 2012 – 92 min Documentary First Feature – World Premiere Jack and Diane by Bradley Rust Gray United States – 2011 – 106 min with Juno Temple, Riley Keough, Cara Seymour, Kylie Minougue – International Premiere La Fille De Nulle Part (The Girl from Nowhere) by Jean-Claude Brisseau France – 2012 – 91 min with Jean-Claude Brisseau, Virginie Legeay World Premiere Leviathan by Lucien Castaing-Taylor and Verena Paravel United Kingdom/United States/France – 2012 – 83 min Documentary - World Premiere Los Mejores Temas (Greatest Hits) by Nicolás Pereda Mexico/Canada/Netherlands – 2012 – 102 min Production: Interior13 Cine – World Premiere Mobile Home by François Pirot Belgium/Luxembourg – 2012 – 95 min with Arthur Dupond, Guillaume Gouix, Jackie Berroyer, Jean-Paul Bonnair, Eugénie Anselin First Feature – World Premiere Museum Hours by Jem Cohen Austria/United States – 2012 – 107 min with Mary Margaret O’Hara, Bobby Sommer, Ela Piplits – World Premiere Padroni Di Casa (The Landlords) by Edoardo Gabbriellini Italy – 2012 – 90 min with Valerio Mastandrea, Elio Germano, Gianni Morandi, Valeria Bruni Tedeschi – World Premiere Playback by Sho Miyake Japan – 2012 – 113 min with Jun Murakami, Kiyohiko Shibukava, Masaki Miura, Makiko Watanabe First Feature – World Premiere Polvo by Julio Hernández Cordón Guatemala/Spain/Chile/Germany – 2012 – 80 min with Agustin Ortíz Pérez, Eduardo Spiegeler, Alejandra Estrada, María Telón Soc – World Premiere Somebody Up There Likes Me by Bob Byington United States – 2011 – 76 min with Keith Poulson, Nick Offerman, Jess Weixler, Stephanie Hunt, Marshall Bell – International Premiere Starlet by Sean Baker United States – 2012 – 104 min with Dree Hemingway, Besedka Johnson, Stella Maeve, James Ransone, Karren Karagulian – International Premiere The End of Time by Peter Mettler Switzerland/Canada – 2012 – 109 min Documentary – World Premiere Une Estonlenne a Paris by Ilmar Raag France/Estonia/Belgium – 2012 – 94 min with Jeanne Moreau, Ita Ever, Fabrice Colson, Laine Mägi – World Premiere Wo Hai You Hua Yao Shuo (When Night Falls) by Ying Liang South Korea – 2012 – 70 min with Nai An, Kate Wen, Sun Ming – International Premiere The Piazza Grande – which seats up to 8,000 viewers a night, is both the heart of the festival and its showcase. Bachelorette by Leslye Headland United States – 2011 – 91 min with Lizzy Caplan, Kirsten Dunst, Isla Fisher, James Marsden – International Premiere Bonjour Tristesse by Otto Preminger United States – 1958 – 94 min with Deborah Kerr, David Niven, Jane Seberg, Mylène Demongeot, Geoffrey Horne Retrospettiva Otto Preminger Camille Redouble by Noémie Lvovsky France – 2012 – 115 min with Noémie Lvovsky, Samir Guesmi, Yolande Moreau, Michel Vuillermoz – International Premiere Das Missenmassaker (The Swiss Miss Massacre) by Michael Steiner Switzerland – 2012 – 95 min with Meryl Valerie, Lisa Maria Bärenbold, Patrick Rapold, Mike Müller, Martin Rapold, Nadine Vinzens – World Premiere Lore by Cate Shortland Germany/Australia/United Kingdom – 2012 – 110 min with Saskia Rosendahl, Kai Malina, Nele Trebs, Ursina Lardi – International Premiere Magic Mike by Steven Soderbergh United States – 2012 – 110 min with Channing Tatum, Matthew McConaughey, Olivia Munn, Alex Pettyfer More Than Honey by Markus Imhoof Switzerland/Germany/Austria – 2012 – 91 min Documentary – World Premiere – Closing Film Motorway by Soi Cheang Hong Kong – 2012 – 90 min with Anthony WONG, Shawn YUE, GUO Xiaodong European Premiere – Pardo alla carriera Johnnie To Nachtlarm (Lullaby Ride) by Christoph Schaub Switzerland/Germany – 2012 – 94 min with Alexandra Maria Lara, Sebastian Blomberg, Georg Friedrich – World Premiere No by Pablo Larraín Chile/United States/Mexico – 2012 – 110 min with Gael Garcia Bernal, Alfredo Castro, Antonia Zegerz, Luis Gnecco Quelques Heures de Printemps by Stéphane Brizé France – 2012 – 108 min with Vincent Lindon, Emmanuelle Seigner, Hélène Vincent – World Premiere Ruby Sparks by Jonathan Dayton and Valerie Faris United States – 2012 – 104 min with Paul Dano, Zoe Kazan, Antonio Banderas, Annette Bening, Steve Coogan, Elliott Gould, Chris Messina International Premiere Sightseers by Ben Wheatley United Kingdom – 2012 – 89 min with Alice Lowe, Eileen Davis, Steve Oram, Monica Dolam The Black Balloon by Josh and Benny Safdie United States – 2012 – 21 min with Larry Sloman, Eleonore Hendricks, Mustafa Bekiroglu, Kennon Bltut, William Skinner – International Premiere The Sweeney by Nick Love United Kingdom – 2012 – 90 min with Damian Lewis, Hayley Atwell, Ray Winstone, Paul Anderson – World Premiere – Opening Film While We Were Here by Kat Coiro United States – 2012 – 83 min with Kate Bosworth, Iddo Goldberg, Jamie Blackley, Claire Bloom – International Premiere Wrong by Quentin Dupieux France – 2012 – 94 min with Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little European Premiere
Kristen Wiig may have shed a few tears when she left Saturday Night Live , but the comedian is smiling up a storm these days. And that has a lot to do with Strokes drummer Fabrizio Moretti. The actress is featured on the cover of August’s Marie Claire and remains mostly mum on her fairly new relationship, but does allow that the musician is making her one content woman at the moment. “I will say that I’m happier than I’ve ever been and I feel very lucky right now,” says Wiig, responding to the question of why with a pair of answers: “Where I am now. Who he is. Those are the two big ones.” The Oscar-nominated Bridesmaids star is doing quite well professionally, too. She has three projects in the works: The Secret Life of Walter Mitty (opposite Ben Stiller). Imogene (opposite Darren Criss). The Comedian (opposite Robert De Niro). Still, she clearly has perspective on what matters in life, telling the magazine: “When you’re on your deathbed, you probably aren’t counting the movies you’ve made. You’re looking at the people who are around you and thinking about the people in your life, and you can’t lose how important that is because that’s ultimately where happiness comes from.”
Singer performed ‘Bad Religion’ with male pronouns a week after big revelation about his sexuality. By Gil Kaufman Frank Ocean on “Late Night With Jimmy Fallon” Photo: NBC
Detroit Woman Fatally Shot From Gun Accidentally Triggered By Hug Wow. This is tragically sad. A woman celebrating the weekend before her 25th birthday was fatally shot Sunday when she hugged an off-duty police officer while dancing at a party, causing the officer’s service weapon to fire, according to police and her mother. Adaisha Miller would have turned 25 on Monday, according to her mother, Yolanda McNair. The shooting happened at an outdoor social gathering about 12:30 a.m., said police Sgt. Eren Stephens. It happened on the city’s west side. According to Stephens, the woman “embraced the officer from behind, causing the holstered weapon to accidently discharge.” The bullet punctured Miller’s lung and hit her heart, and she died at a hospital. Stephens said the Detroit officer will remain on administrative duties while authorities investigate the shooting and report their findings to the Wayne County prosecutor. The officer’s name was not released. “For this to happen to her, whether they want to call it freak accident or mistake in judgment, it should have never happened to my child, and there’s nothing I can do to get her back,” McNair told WDIV-TV. McNair said her daughter was out to mark her upcoming birthday. “All she wanted to do was enjoy the weekend for her birthday,” the mother said. “She had every right to enjoy turning 25 and look beyond that.” R.I.P. Source
Another day another epitome of a bad mother! : A city schoolteacher, convinced her cop husband had cheated on her, allegedly murdered their two kids — poisoning them, then sealing their Bronx apartment’s windows with plastic before turning on the gas, sources told The Post yesterday. Lissette Bamenga, 29 — who slit her wrists in a suicide attempt during the Thursday horror — believed Officer Trevor Noel had gotten another woman pregnant, and she allegedly wanted to punish him by killing 5-year-old Trevor Jr. and Liliane, who was just 4 months old, the sources said. The children were declared dead at the scene. Bamenga was rushed to Jacobi Hospital, where she remained in stable condition. “You got what you wanted,” she allegedly wrote in one of two suicide notes. “Me and the kids are in a better place now.” Bamenga also wrote “DNR,” meaning “do not resuscitate,” for whoever found her in the gas-filled apartment at 1500 Noble Ave. in Parkchester. Noel, who had just finished the night shift at Manhattan’s 28th Precinct, was unable to speak when he arrived at the scene. Sources said Bamenga believed her husband fathered a child with a woman in Spain — and she was furious. “In a jealous rage, his wife killed her children and then tried to kill herself,” a law-enforcement source said. The ghastly final act, however, appeared carefully thought out. First, Bamenga allegedly fed her kids juice spiked with a de-icer, which is colorless, odorless, sweet — and deadly. Police found a bottle containing de-icer in the apartment. Then she slashed her wrists. But the wounds weren’t deep enough to be fatal. Finally, she allegedly sealed off the windows of the ninth-floor apartment with plastic sheets and turned on the gas burners of the kitchen stove. At around 11 p.m., another tenant called 911 to report the heavy smell of gas. Firefighters knocked down the door, and EMS workers administered CPR to the 5-year-old on the floor of the apartment hallway, said Davis Rodriguez, 17, who lives on the same floor. Another neighbor, Gwen Richardson, 71, said she saw Bamenga in the hallway surrounded by firefighters who were trying to get her to respond. “I could hear them going, ‘Miss, Miss, can you hear me?’ ” Richardson said. Bamenga, originally from France, moved to the United States from the Democratic Republic of the Congo about 12 years ago and eventually married Noel, 31. Bamenga taught at PS 58 in The Bronx from 2005 to 2006 before giving birth to Trevor Jr. She returned to work, teaching at Brooklyn’s PS 58 last year while pregnant with their daughter. SMH. So sad. Those innocent children lost. People, take your problems up with your significant others — not out on your kids. Source
